Film cliches you want to fuck off

[Avril Lavigne]

Yes but it's also about explanation, should you have annoying friends who talk throughout the film and miss the detail of Rustin Parr's victims and hence, why Mike is standing in the corner at the end of the film.  At that point, I should imagine that it's a film about the feeling of wanting to slap philistinic twats around the back of the head, as much as it is hopeless terror.

Precisely - hopeless terror works best with a bit of context, otherwise it's just Stuff Happenin. :)

[Clownbaby]

Mams in America films wearing those tan/beige cropped pants for easy crouching and bending while caring for their bowl-cut son

[magval]

Women whose lips taste of strawberries upon being smooched by baddies. Always strawberries.

[mothman]

The one time I was interviewed by a member of the police, I stopped what I was doing and gave them me undivided attention. Because she was the absolute spit of Freema Agyeman. Being a victim of crime never felt hotter.

[Sebastian Cobb]

When the filth came round to talk to me about my burglary I offered them a brew.

Don't see that in films do you?

Or them looking at your hovel and going 'nah, you're alright, ta'.

Or them making passive-aggressive comments about how it would be easier to fingerprint if it wasn't so dusty.

[Phoenix Lazarus]

When the filth came round to talk to me about my burglary I offered them a brew.

Don't see that in films do you?

The 'filth'?  No, not since the 70s or early 80s.

[St_Eddie]

Women whose lips taste of strawberries upon being smooched by baddies. Always strawberries.

Sorry, but I'd be remiss to ask; which lips exactly?

[greencalx]

The other detective story cliche is the appearance about 1/3rd of the way through of a minor character whose sole purpose in the story is for it to be revealed close to the end that they done it.

[Icehaven]

The other detective story cliche is the appearance about 1/3rd of the way through of a minor character whose sole purpose in the story is for it to be revealed close to the end that they done it.

I hate it in whodunnits when it turns out it was someone who appeared very briefly and/or had no motive you could possibly have deducted, while there's been several 'obvious' suspects all the way through just to wrongfoot you, which isn't exactly deft plotting, given we only ever have what the film gives us to go on.

[magval]

Sorry, but I'd be remiss to ask; which lips exactly?

Muff lips mate.

HAPPY NOW, ED?

[St_Eddie]

Muff lips mate.

HAPPY NOW, ED?

Ecstatic.

[Cuellar]

Cunts slurping drinks exaggeratedly.

"Ya know *SLOOOOOOOPPP* for a quiet guy you sure ask a lotta questions" FUCK OFF

(Although there's someone at work who does this and I want to slap him every time)

[Bennett Brauer]

Cunts slurping drinks exaggeratedly.

Oh yeah. Especially when you can tell the cup's empty.

And there was a scene in this season's Better Call Saul, long shot of Mike and Anita in a diner, when an anonymous woman in the foreground sips a drink and you hear her slurp, even though she's not close to the camera. Foley fucks.

[St_Eddie]

Cunts slurping drinks exaggeratedly.

Well, there's a mental image I won't soon be able to scrub from my mind.

[touchingcloth]

Has there ever been a film where one person waits in a car while another leaves the car for some purpose - to fill it up, buy a pack of smokes, whatever - where he second person doesn't return to the car with an item to pass on to the first person or else to announce that they need to leave, pronto?

Green Book. Tony returns to the car with an apple for the doctor.

Rush Hour. Chris Tucker returns to the car with an apple for Jackie Chan.

Thelma and Louise. Thelma returns to the car and they get the hell out of Dodge cos she's just done a robbery.

[magval]

Well, in The Crow The Crow steals T-Bird before Skank has a chance to get back to the car with the smokes and road beers.

[Sebastian Cobb]

The sad lonely man, possibly a copper, pours a scotch and sits down to watch a home movie of his estranged/dead family.

[Ballad of Ballard Berkley]

The sad lonely man, possibly a copper, pours a scotch and sits down to watch a home movie of his estranged/dead family.

This cliche is the entire basis of Gervais' new Netflix series.

[grassbath]

The sad lonely man, possibly a copper, pours a scotch and sits down to watch a home movie of his estranged/dead family.

Don't besmirch Paris, Texas for me.

[rasta-spouse]

The sad lonely man, possibly a copper, pours a scotch and sits down to watch a home movie of his estranged/dead family.

The one that makes me think "cheeeese" out of all of these is Feinnes watching the videos of Juliette Lewis on rollerblades in Strange Days.

[Kelvin]

The one that makes me think "cheeeese" out of all of these is Feinnes watching the videos of Juliette Lewis on rollerblades in Strange Days.

The one from Minority Report is Spielberg at his most manipulative:

https://www.youtube.com/watch?v=DTjv5nm-BVo

[Sebastian Cobb]

Don't besmirch Paris, Texas for me.

The difference is that Wenders had spent the entire film up until that point painting just how hollow and broken Travis was; the cliched version just dives straight in at the home movie and uses it as shorthand.

[rasta-spouse]

The one from Minority Report is Spielberg at his most manipulative:

https://www.youtube.com/watch?v=DTjv5nm-BVo

Yeah, there's half an hour of pure cheese in that film too. Near the end with all that crying from TC. Take it out and you'd have a great action neo-noir perhaps, because some of those set-pieces are primo.

Also it's got that cliche where the evil Police Comissoner (Max Von Sydow, in this case) says one thing too many, or gives away a specific detail that lets the viewer or another character know he's in league with the bad guys.

However, in LA Confidential, with the Rollo Tomassi thing, I find the cliche works perfectly.

[Kelvin]

Yeah, there's half an hour of pure cheese in that film too. Near the end with all that crying from TC. Take it out and you'd have a great action neo-noir perhaps, because some of those set-pieces are primo.

My thoughts exactly. It's a brilliant film dragged down by Spielberg's increasingly hamfisted attempts at sentiment. The scene in the bedroom, with the psychic describing the dead son falling in love, is probably a career worst for Spielberg. It exists purely to make the characters and audience cry. It's a crass and very stupid scene. 

[kalowski]

"So... What do we do now?"
"Now...we wait."

[Icehaven]

Sensitive man/single dad putting sleeping child from his shoulder to bed, usually in slow motion.

[lipsink]

If a character coughs one time too many they will collapse later in the film.

[holyzombiejesus]

If a character coughs they will collapse later in the film.

Any cough means they'll drop dead at some stage in the film, often whilst reaching for a pill that would immediately make them better.
"My pills!"

[olliebean]

Chekhov's cough?

[Ferris]

If a character coughs one time too many they will collapse later in the film.

https://m.youtube.com/watch?v=8vNJ5Krj7SQ